Harchali – one of the first quarterly literary magazines in Tharu language

Harchali - one of the first quarterly literary magazines in Tharu language

An interview with Sagar Kusmi, Editor, Harchali, one of the first quarterly literary magazines in
Tharu language.

Please tell our readers about Harchali quarterly, the literary magazine you’ve been publishing. 
Harchali literary quarterly is purely dedicated to literature. We started publishing it from 2072 Baishakh after formally registering with the District Administration Office in Kailali on 2071 Falgun 28 (Registration no. 169). I (Sagar Kusmi) am the Chief Editor and Publisher of the magazine.  This is the only magazine in Tharu language being published regularly from Dhangadhi, Kailali. This magazine reaches out to audiences in Kailali, Kanchanpur, Bardia, Banke, Dang, Surkhet, Kapilvastu, Rupandehi, Nawalparasi, Kathmandu and Uttar Pradhesh in India.

Sagar Kusmi, Editor, Harchali

Please tell us about yourself.
My father is a farmer and I come from Dakshin Terhi Village of Kailari Rural Municipality, Ward no. 8. Currently, I have been living in Dhangadhi and dabbling in literary journalism. Along with journalism, I write Tharu folktales and folklores. Two of my collections of ghazals – hastakshar and futal pokri, and a collection of muktak (lyrical poems), have been published. I am working towards publishing collections of folktales, folklores, Haiku, ghazals, and investigative essays. Especially, I like to write about Tharu language, literature and culture.

Is there any reason behind naming the magazine ‘Harchali’?     
I am proud to be a Tharu. Thousands of Tharu words have been forgotten and are in the process of being forgotten. That’s why I chose this name from one of the Tharu words that denotes what one does during their leisure. So that people use their free time and we are able to conserve the Tharu language, literature and culture, and document the articles written in Tharu language.

What inspired you to publish this quarterly magazine?
I was interested in literature since my childhood. I used to write poems. I had the habit of reading magazines of all kind. While I was in school, they published a wall magazine. I used to send my poems for the magazine. In my village while I was a club president, I used to publish a wall magazine called ‘Fulariya’. Later, a magazine called ‘Nisrau Saptahik’ started being published from Dhangadhi. My poems, ghazals, muktak used to be published in that magazine as well. Following this, Hamar Pahura semi-weekly (later daily) used to publish my ghazals, muktak and articles. I gained a lot of experience working for Hamar Pahura. After working as Kailali representative of Lawa Daggar quarterly, I set out on my own to publish Harchali literary quarterly magazine.

What types of articles are published in Harchali and how can one send articles to it?
As this is a literary magazine, we publish all sorts of literary creations like articles, poems, ghazals, muktak, stories, memoirs, short stories, novels, etc. Articles that convey messages, raise awareness and investigative articles are given priority. Articles containing hate speech, accusation and written solely for entertainment and about love are not published. Articles received via our email ID harchali3@gmail.com are published only after reviewing.

What are your plans to reach more audience in the coming days?
We are trying our best to improve the quality and reach more audience. We look forward to suggestions, inputs and insights from our readers to improve the publication. We are also planning to reach our audiences in other cities and villages. We are working to make it monthly. Also we’re in the process of adding more columns and publishing the inside pages in multi-colour. Rest depends on readers and supporters.

Finally, would you like to say anything to our readers?
This is not my magazine. A magazine is a common learning ground for all. Please support us. Give us feedback and suggestions. Don’t stay idle. Write something and send them to us.

Note: The title has been changed from earlier 'Harchali – the first quarterly literary magazine in Tharu language'. 'Aainkh' is the first quarterly literary magazine in Tharu language.

थारू भाषाको प्रथम साहित्यिक त्रैमासिक पत्रिकामध्ये एक "हरचाली"

थारू भाषाको प्रथम साहित्यिक त्रैमासिक पत्रिका मध्ये एक "हरचाली"का सम्पादक सागर कुस्मीसँगको अन्तर्वार्ता। 

तपाईंले प्रकाशन गर्ने हरचाली त्रैमासिकबारे केही भनिदिनुस् । 
हरचाली साहित्यिक त्रैमासिक थारू भाषाको विशुद्ध साहित्यिक पत्रिका हो । जिल्ला प्रशासन कार्यालय कैलालीमा २०७१ फागुन २८ गते विधिवत् रूपमा दर्ता (दर्ता नम्बर १६९) भई २०७२ वैशाखदेखि प्रकाशन शुरु गरिएको हो । यसको प्रकाशक तथा प्रधान सम्पादक म आफै (सागर कुस्मी) छु । यो पत्रिका कैलाली जिल्लाको धनगढीबाट हालसम्म एकमात्र नियमित प्रकाशन हुँदै आएको थारू भाषाको पत्रिका हो । यो पत्रिका कैलाली, कंचनपुर, बर्दिया, बाँके, दांग, सुर्खेत, कपिलवस्तु, रिपन्देही, चितवन, नवलपरासी, काठमाडांै, र भारतको उत्तर प्रदेशसम्म पुग्छ ।

सम्पादक सागर कुस्मी

तपाईंको बारे पनि केही भनिदिनुस् न ।
म एउटा किसानको छोरा हुँ । म कैलारी गाउँपालिका वडा नम्बर ८ दक्षिण टेंर्ही गाउँको बासिन्दा हुँ । साहित्यिक पत्रकारिता गर्ने क्रममा हाल म अहिले धनगढीमा बस्छु । पत्रकारितासँगै म थारू लोककथा, थारू लोकगीतमा बढी कलम चलाउँछु । मेरा दुई वटा हस्ताक्षर र फुटल पोक्री गजल संग्रह र एउटा मुक्तक संग्रह प्रकाशित छन् । लोककथा संग्रह, लोकगीत संग्रह, हाइकु संग्रह, गजल संग्रह र खोज तथा अनुसन्धानमुलक निबन्ध संग्रह प्रकाशनको तयारीमा रहेको छ । म धेरैजसो थारू भाषा साहित्य र संस्कृतिमा कलम चलाउन रुचाउछुँ ।

यसको नाम हरचाली राख्नुको कारण ?
मलाई  थारूको सन्तान भएकोमा गर्व लाग्छ । थारू सामुदायमा अझै पनि हजारौं शब्द लोप भैसकेका छन् र हुँदै छन् । त्यसैले एउटा शब्द छानेर यो नाम जुराएको हुँ । खाली समयलाई सदुपयोग होस् र थारू भाषा साहित्य, संस्कृतिको संरक्षण सम्वद्र्धन होस्, थारू भाषाको लेख रचना दस्तावेजिकरण होस् भनी यो नाम जुराएका हौं ।

यो त्रैमासिक निकाल्ने प्रेरणा कहाँ र कसरी पाउँनु भयो ?
मेरो बचपनदेखि नै साहित्यमा रुचि थियो । म सानैदेखि कविता लेख्थें । जस्तो सुकै पत्रिका पनि खोजी खोजी पढ्ने बानी थियो मेरो । स्कुलमा म पढ्दा खेरी भित्ते पत्रिका निस्किन्थ्यो । त्यसमा म पनि कविता पठाउँथे । गाउँमा क्लबको अध्यक्ष हुँदा पनि "फुलरिया" भन्ने भित्ते पत्रिका निकाल्थें । त्यसपछि धनगढीबाट "निसराउ साप्ताहिक" भन्ने पत्रिका निस्किन्थ्यो । त्यसमा पनि मेरा कविता, गजल, मुक्तक छापिन्थे । यसपछि "हमार पहुरा" अर्ध साप्ताहिक (पछि दैनिक) पत्रिकामा मेरा गजल, मुक्तक, लेख रचना छापिन्थें । हमार पहुरा पत्रिकामा काम गरेर पनि धेरै अनुभव बटुलेँ । दाङ डेउखुरी बाट निस्किने "लावा डग्गर" त्रैमासिक मा कैलाली प्रतिनिधि भएर काम गरिसकेपछि आफैमा एउटा प्रकाशक भएर पत्रिका निकाल्ने हिम्मत र आँट आयो । यसरी म अहिले हरचाली साहित्यिक त्रैमासिक पत्रिका कैलालीबाट नियमित निकाल्न सफल भएँ ।

यसमा कस्ता कस्ता रचना प्रकाशन गरिन्छ र आफ्ना रचना प्रकाशन गराउन कहाँ कसरी पठाउँनुपर्छ ? 
यो एउटा साहित्यिक पत्रिका भएकोले यसमा साहित्यिक लेख रचना, कविता, गजल, मुक्तक, कथा, संस्मरण, लघुकथा, उपन्यास प्राय सबै विधाका रचना छापिन्छन् । सन्देशमुलक, जनचेतनामुलक, खोज तथा अनुसन्धानमुलक रचनालाई बढी प्राथमिकता दिईन्छ । कसैलाई गाली गलौज, आरोप, र नितान्त मनोरञ्जनात्मक माया प्रेम सम्बन्धि रचना छापिदैन । पत्रिकाको इमेल आइडी  harchali3@gmail.com मा आएका रचनालाई छनौट गरेर मात्र छापिन्छ ।

आगामी दिनमा यसलाई कसरी अगाडि बढाउने र अझ बढी पाठकमाझ पुर्याउन के के गर्ने सोच राख्नु भएको छ ?
हामीले आफ्नो तर्फबाट सक्ने जति गरेकै छौं । यो पत्रिकालाई अझ स्तरीय बनाउन पाठकहरूको सल्लाह सुझाव, प्रतिक्रियाको आशामा बसेका छौं । आगामी दिन शहरदेखि गाउँसम्म पुर्याउने योजनामा छौं । त्रैमासिकबाट मासिक बनाउन रात दिन खटिरहेका छौं । थप स्तम्भ राखी, भित्री पृष्ठ मल्टी कलरमा प्रकाशन गर्ने क्रममा छौं । बाँकी जिम्मा पाठक र सहयोगीको हुनेछ ।

अन्त्यमा हाम्रा पाठकलाई केही सन्देश दिन चाहनुहुन्छ ?
यो मेरो मात्र पत्रिका होइन । पत्रिका भनेको सबैको साझा विद्यालय हो ।  यसलाई सबैले माया, ममता, सहयोग गर्नुस् । चित्त नबुझेको ठाउँमा सल्लाह सुझाव दिनुस् । खाली नबस्नुस् । केहि न केहि अवश्य लेख्नुस् र हामीलाई पठाउनुस् । सबैलाई हार्दिक शुभकामना।

नोट: यस अन्तर्वार्ताको शीर्षक "हरचाली -- थारू भाषाको पहिलो साहित्यिक त्रैमासिक पत्रिका" परिवर्तन गरिएको छ। थारू भाषाको पहिलो साहित्यिक त्रैमासिक पत्रिका "आँइख" हो।

Compiling typical and original Tharu words before they disappear

Tharu Welfare Society of Deukhuri, Dang is in the final stages of publishing a dictionary of western Tharu language.

Sanjib Chaudhary from the Voice of Tharus spoke with the team about the dictionary, its importance and how the team is working to complete the tedious task of collecting the peculiar Tharu words which are on the verge of vanishing.

Here are the excerpts of interviews with Uday Raj Aaley, the editor and resource person; Goma Kalathoki, the phonetic editor and Bal Govind Chaudhary, the coordinator of this task of compiling the dictionary.

Uday Raj Aaley

Voice of Tharus (VOT): Tell our readers about the Tharu dictionary and how you are collecting and compiling the Tharu words.

Uday Raj Aaley (URA): Language is the key symbol of identity and to preserve and develop a language, a dictionary is a must.

First of all, I would like to thank Tharu Welfare Society of Deukhuri, Dang and its board members for giving me the responsibility of an editor and resource person to compile this dictionary.

I am working in a team – Tharu scholars Sher Bahadur Chaudhari, Rajendra Prasad Chaudhari and Lilagambhir Tharu have been employed to collect Tharu words. Some words have been compiled from secondary sources such as books, epics, folk tales, magazines, newspapers, etc.

We have decided to include Tharu words of different genres in the dictionary. It comprises Deukhuriya and Dangoriya Tharu words which are spoken in different districts of western Nepal. The Tharus are rich in culture and they have many typical words for cultural and ritual activities.

It’s a great challenge because many typical and original Tharu words are disappearing day by day. The dictionary has archaic as well as new words which are popular and used in day to day life.


VOT: What is the scope of the dictionary? How many people do you want to reach with the publication of the dictionary?

URA: The trilingual dictionary – Tharu- English-Nepali – will help Tharu, Nepali and English speaking readers. There are dialects and some variations in the Tharu language spoken in different parts of Terai region in Nepal.

I think the dictionary will be helpful and valuable for Tharu people, scholars, researchers, teachers, students, trainers, textbook writers, journalists, language activists, social workers and those who want to study about Tharus and Tharu language.

At the same time, the dictionary will contribute to preserve Tharu language. The Tharu Welfare Society has networks with Tharu people and concerned departments. It will manage the distribution of the dictionary.

VOT: How do you think it will help the target audience that you have in mind?

URA: I have been doing research on Tharus of western Nepal. The loss of language harms the linguistic and cultural diversity of the country and the world as well.

Many of the languages spoken in Nepal are confined to their oral traditions. There is need to develop a policy to impart basic education in mother tongue. It is through his/her mother tongue that every human being first learns to formulate and express his/her ideas about himself/herself and the world.

The ‘one nation- one language’ policy was adopted during Rana and Panchayat periods in Nepal. After the reestablishment of democracy, ethnic organisations have been playing an active role in creating awareness about promoting and preserving their mother tongues including their cultural identities. There should be special provisions to indigenous peoples to retain their languages and cultures.

Different languages enhance different ways of expressing experiences, thoughts, feelings, and aesthetics. To impart knowledge through the medium of his/her own language first, where the dictionary is available, his/her own mother tongue can then be used creatively.

I think the state and the ethnic groups have obligation and are equally responsible to enable and retain their languages and cultures.

Goma Kalathoki

VOT: What are the difficulties did you face while transcribing the Tharu words into International Phonetic Alphabet (IPA)?

Goma Kalathoki (GK): The Tharu dictionary which is going to be published is a great work for the Tharu community as well as other readers. I was employed as a phonetic editor by Uday Raj Aaley, the editor and resource person for the dictionary and Tharu Welfare Society to transcribe the compiled Tharu words. I am very much happy because I have tried to complete the task sincerely.

There are many difficulties and challenges in any work you do and I have faced difficulties doing this. I am a student of English and this opportunity has taught me the importance of language and its micro elements.

Tharu language does not have its own script. Devnagari script has been used throughout as written script for Tharu words. It should also be noted that Tharu language does not have all the sounds of the Nepali language. Therefore, some vowels and consonants of the Nepali language are omitted. This is followed by the phonetic transcription, transcribed Tharu word as it is pronounced. However, writing through the Devnagari script, we found that Devnagari lacks graphemes.

VOT: Did you find any peculiarity in the Tharu words? Can the Tharu words be compared with words from other languages?

GK: Tharu language is spoken by the Tharu people of Terai region in Nepal. The Tharus have their native words to speak. There are some variations in the Tharu language, but the root words are similar.

In Dang district, Deukhuriya and Dangoriya dialects are spoken. Tharu language of mid-western region, especially Deukhuri where I was born, has a different dialect which is influenced by Awadhi and Nepali because a few words are borrowed from them. A couple of years ago Tharu people used to speak their mother tongue naturally. Of course every language has some peculiarities and exceptions from the normal patterns. For instance, Deukhuriya Tharu say ‘neimaza’ and Dangoriya Tharu say ‘nimaza’ for ‘not good’.

New generations are using Nepali and English words in their conversation. Typical Tharu words are disappearing gradually. I think their native words should be preserved for future. The dictionary will preserve these words, but at the same we have to encourage new generation to speak their language in their daily life.

Bal Govind Chaudhary

VOT: Why and how did the idea of preparing a Tharu language dictionary come up?

Bal Govind Chaudhary (BGC):  Thank you for your question and giving an opportunity to share our work. First of all, I'm a responsible member of Tharu society and now secretary of Tharu Kalayankarini Sabha (Tharu Welfare Society) Deukhuri, Dang. As a secretary I would like to talk about some activities of Tharu Welfare Society. The Tharu Welfare Society has been working to promote language and culture. It has been publishing a quarterly journal named ‘Hamar Sanghariya’ (Our friend). To preserve and promote Tharu culture, it has been organising cultural programmes such as seminars and interaction programmes related to Tharu culture. It has also been organising cultural handicraft training to preserve age-old tradition.

From east to west, Tharus are divided into many groups according to their spoken language. eastern Tharu language is influenced by Maithaili, western Tharu language is influenced by Bhojpuri and Awadhi, and mid-western and far-western Tharu language is believed to be the original Tharu language but there are variations.

Nowadays, most of the Tharu words are disappearing. Because they use other language for communication to be civilised in the community (this is what they think!) so they are forgetting their own language. Terai is like a ‘melting pot’ and heterogeneous owing to the settlement of people migrating from hills and southern parts. Different kinds of people belonging to different caste and ethnic groups live in the Teari. Due to the diversity in settlement, Tharu language is at risk. Thus, it is necessary to preserve and promote it. And we ourselves are responsible for this.

At the same time, people want to know Tharu language for trade, politics, social works, communication and so on. They want to study about Tharu culture, their rites and rituals. Without a Tharu dictionary it seems to be difficult. There are not sufficient linguistic documents and supporting materials to study about Tharu culture. Because of lack of study materials, many languages are disappearing from the world. Tharu language is also at risk. So the idea of publishing a Tharu language dictionary came up.

VOT: Who are your target audience?

BGC: In my opinion, our target audiences are researchers, politicians, businessmen, teachers, social workers, personnel and students.

VOT: What is your next step after publishing the dictionary?

Team: After publishing the dictionary we have planned programmes to publish Tharu grammar, cultural documentary, newspaper, and research publications.

VOT: How do you plan to disseminate and share the learning of preparing the dictionary?

Team: We have planned to disseminate this dictionary through our networks, book sellers, and team members. And we have planned a ‘door to door dictionary campaign’.

‘Tharu’ identity is part of a political agenda which does not necessarily correspond to the local reality – Gisele Krauskopff

Gisele Krauskopff. Image from her Facebook page.

Gisele Krauskopff, one of the first few researchers to conduct fieldwork in the Tharu dominant Dang Valley, is not a new name among the researchers working in the Himalayan region.

Though most of her works have been published in French, ‘A Marshland Culture : Fishing and Trapping among a Farming People of the Tarai’ gives an overview of different fishing techniques used by the Tharus in the Dang Valley.

Sanjib Chaudhary from Voice of Tharus spoke with Gisele about her research work and publications. Here’s an excerpt of the interview.

Voice of Tharus (VOT): Welcome to Voice of Tharus. Your pioneering research on Tharus has helped the Tharus to be recognised internationally. Can you tell our readers about your research and the publications you have published till date?

Gisele Krauskopff (GK): I am surprised to discover that my researches ‘helped the Tharu to be recognised internationally’. I think they managed themselves to be recognised. I doubt that books published in French could have such an influence.

Moreover, I should like to emphasise the following point (see also next question): I did not work on ‘The Tharu’ but did a study in a predominantly inhabited Tharu village in Dang valley in Western Nepal. At that time, the 1980s, (except for very few educated one) they had no contact with other groups called ‘Tharu’. The outsiders called them ‘Dangaurya Tharu’. The farmers in my residential village did not travel much outside of the valley and even to the neighbouring Deokhuri Valley. They did not like to go to the bazaar.

However, at the beginning of the 1960, after the land reform, whole villages had migrated to ‘Buran’, that is the Far Western district of Terai, mainly in Bardiya district. My most recent publication (to appear in English very soon) is about the so called migratory practices of the Tharu farmers that I trace in historical documents (Nepalese archives but also British colonial archives of the 19th century during the border conflicts between Nepal and British India from 1802 onward) and with the help of my ethnographic work. I considered this the most valuable part of my work (with my PhD).

My PhD research had a different perspective. My field work was done in 1981-1985, and according to the dominant ethnological approach at this period, was based on a monograph of a village of Western Dang where I spent two years and revisited often: a monograph of the rituals as I observed then, in this village, in the company of my best friend and informant, a gurwa, who was called in many houses or villages to treat illnesses and other disorders.

I taped all the events (I plan to deposit these tapes in protected archives or hopefully an open database) and was helped for their translation by Ashok Chaudhary, from Hekuli village. I used these documents to deepen my knowledge of the rituals and of the language with my gurwa friend. I also worked a lot with the women. Being myself a woman, it was easier and the deep and affectionate relationship I built with women was very very important for my day to day life and the progress in the local language and understanding of the culture.

But already then I was much interested by history and the processes by which the Tharu social organisation in Dang was moulded through an agrarian system in which the political and agrarian authority was delegated by a ‘Hindu’ king (living in the hills) to Tharu local headmen who had a pivotal and very important role in the centralisation of the system at the local level.  Hence, I framed my ‘village’ study taking into account the larger territorial organisation of the Dang Valley, which was divided into several ‘rajya’ or parganna.

The main goal of my thesis and first book (Maitres et Possédés that I plan to translate and publish in English) was to demonstrate how the division between priestly clans and ‘client’ clans was rooted in this historical development and the history of subjection of the Tharu to hill kingdoms. This bipolar structure, extremely important in Dang, was not found in other area of Terai among other Tharu groups. It shows how the social and religious order that bounded the Dangaurya Tharu society at this time was locally rooted and inscribed in the agrarian and political history of the area. This local order is of course now part of history: the change brought by the transformation of Nepal in the last 25 years has changed the situation and local is no more local.

VOT: What is opinion about the Tharus? Did you find any clues on the origin of Tharus during your research?
 
GK: I have opinion on the human beings I met during my fieldwork, and very different ones, but none on ‘The Tharu’.

Even in the ‘Tharu’ village where I did my field researches, I met different kinds of ‘Tharu’, I mean: landless farmers, rich jimindar, educated fellows, illiterate people, women, men, kids and some villagers from other ethnic background.

In all my researches I have tried to deconstruct this category ‘the Tharu’ used as an ethnic, caste oriented, or racial category: many groups called Tharu have different social organisation, and some other groups differently called have very similar culture (as far as the lowlands of Assam). And inside any local communities, there are class distinctions (landless labourers, wealthy jimindar).

In the present political context of Nepal, ethnic groups have redefined themselves and ‘Tharu’ identity is part of a political agenda which does not necessarily correspond to the local reality I encountered in the past.

Concerning the ‘origin’ of the Tharu I suggest to read some of my English papers where I discussed this question which is political rhetoric. Since I do not know my own origin (I am French, have a German name, and was born in North Africa) but only the context (economic and social) in which I was educated, I do not know how I could propose a theory on the Tharu origin!

More seriously, considering my historical approach, origin has no meaning and looking for it postulates that a group could have existed from time immemorial without transformation. Each classificatory order, class or term is historically rooted and takes meaning in the context of its use. This is why when I wrote on this topic, I consider it as an historical narration to support a political agenda, in the past as in the present.

VOT: Can you cite any anecdote during your stay with the Tharus in Dang?
 
GK: I remember the beginning of my fieldwork in Dang during the rainy season. From January to June, I had travelled all over Western Tarai to find the right place to study. But finally I choose Dang Valley and started to settle there at the beginning of the rainy season.

Two images remain in my memory. Once I was crossing the Patu Khola River but could not fight against the current. Boulders were hurting my Western too soft feet and I could not walk in the water. Happily, a Tharu villager wearing his loin cloth and bare feet rushed to me, took my hand, and forced me to run to reach the bank of the river. You can easily imagine how even trained local people could die drowning in the rivers. 

The other image is of myself trying to reach the village: The paths were so muddy that I sank to the thighs in the mud. It was the only rainy season I spent in the Terai but it was worthwhile since most of the very interesting village rituals were done during this season. And in September, suddenly the sky opened and I discovered the beauty of this magnificent and rich valley covered with green rice fields. A fascinating and meaningful contrast!

VOT: You were again back in Dang for your research on Tharu masks? Can you tell our readers about it?
 
GK: I have never done researches on Tharu masks since I never saw any masks in Dang. But it seems that jokers intervening in some dances like the cokra dance could wear masks made by Tharu or sometimes by Magar people who settled in Dang.

VOT: During your research, you worked with many international and Nepali researchers. Can you share your experiences with us?
 
GK: Most of my research colleagues do not work on the Tharu but other topics in the Himalaya (see for instance the CEH web site, ‘Centre for Himalayan studies’ on my own laboratory in Paris Nanterre University, LESC.

VOT: Can you share with us link to your writings and publications?
 
GK: I have not yet posted my publications on Academia or other websites. More important for me is to translate my publications into English. Nevertheless, you can find some of the French ones published in journals on the internet (for instance Persee or revue.org, for French journals). You can also trace them through my name. For those published in collective books.  I plan to post them on Academia in close future.

VOT: What are your personal views about the Tharu? Do you have any advice for the young generation?
 
GK: I already answered this question: I have no personal view on ‘The Tharus’. Concerning the ‘young generation’ in Nepal in the global context, I am afraid by the consumering trend and think that emigration, particularly to the Gulf countries, will bring a big change.

Some Tharu do PhD some others are working in the Gulf countries, some remain farmers in the villages with less and less land to till, so their conditions and aspirations are different.

VOT: Are you continuing with your research and writing? Can you share with us your future plans?
 
GK: I am interested by other topics. Concerning my research on the Tharu, I am planning to publish my first book in English, and to translate some of my French papers (not all). It is possible also that I write a more personal account of my experience in a non-academic format.

No one has long history of residing in Dang, except the Tharus – Prof Dr Shiva Kumar Subedi

Professor Dr Shiva Kumar Subedi. Image from his Facebook page. Used with permission.

Dr Shiva Kumar Subedi, a professor of Nepalese history, culture and archaeology, has published numerous research articles on history and culture of the Dang Valley. He has also written about the Tharus of Dang, their history, culture and cuisines.

Sanjib Chaudhary from Voice of Tharus, with the help of researcher Uday Raj, spoke with Dr Subedi about his research works and publications. Here’s an excerpt of the interview.

Voice of Tharus (VOT): Welcome to Voice of Tharus, Dr Subedi. Can you tell our readers about your research article on 'Prehistoric Study of Dang Area and Recently Discovered Artefacts' published in Ancient Nepal?

Shiva Kumar Subedi (SKS): Dang Valley, Located between Mahabharat and Chure ( Shivalik) ranges is one of the big valleys of Asia. It covers an area of around 50 kilometres in length from east to west and an average of 19 kilometres in width from north to south. The main drainage of the valley is Babai River which lies on the lap of Shivalik range.

I had studied different articles of Gudrun Corvinus, a German scholar, related to the geology and prehistory of Dang during my student life. I got chance to teach prehistory from the beginning of my teaching life. However, I had known a little about the cultural value of this area which attracted me towards the cultural heritage of Dang area. Later, I discovered a piece of Mesolithic tool and two Neolithic tools during my field work. Thus, the article was prepared and published. 

VOT:  In one of your articles you have mentioned that Tharus were the first to settle in Dang. How did you come to such conclusion? Can you tell our readers the facts behind that?

SKS: Nowadays, Tharus are in minority in Dang but they were in large numbers before the Land Reform Act of Nepal 2021 BS (1964 AD) and Malaria Eradication Project which were implemented around same time. Both helped the hill people to migrate to the plain land of the valley.

The first historical document is a copper plate of King Punnya Malla which hints the Brahmin entering in the valley. At present, more than 50 groups are living here but no one has long history of residing in Dang, except the Tharus. They have a cultural history of unknown past related with Dang.

Their settlement pattern, migratory behaviour, joint family system, nature dependent life, compact settlement pattern from security point of view, equal importance given to the cattle, etc., are the features of primitive life.

The ones who have migrated towards the west are known as Dangaura (originally of Dang). On the basis of these facts, I agree with the opinion of Prof. K.N. Pyakurel that Tharus of Nepal do not have a single origin and conclude that Dangaura Tharus are original inhabitants of Dang.

VOT: You have also written about the medieval history of Dang and cultural heritage of Dang. Can you highlight a little about it?

SKS: In the past, Dang witnessed a rich and glorious time during the prehistoric period. The discoveries from lower Paleolithic period to the Neolithic period in Dang prove this fact. Most of the artefacts are exhibited in the National Museum, Chhauni, Kathmandu. They show that Dang was rich in prehistoric culture. However, there is no clear picture of the historic period due to lack of reliable sources.

Ancient history of Nepal mostly depended on the cultural sources, outside of the Kathmandu Valley. The copper coins, which were discovered on the mound of Sukaura, so-called fort of the Tharus cannot hint at the history of Dang. On the basis of the tangible and intangible cultural sources and support of the neighbouring sources, it can be said that it was governed by the Tharus up to the early medieval period of Nepalese history. Tharus must be the local chiefs in the Khasha imperial period which is hinted by the copper inscription of Punnya Malla.

After the fall of that empire, some local chiefs got opportunity to be sovereign kings. But Dang was divided into different tiny kingdoms for a time being and different families got chance to hold the power. In this context, local chiefs related with the ruling family held the power in Dang.

The king of Dang during the period of unification was not of the Tharu family. This shows that the hold of Tharus in Dang was gradually falling down along with the rise of Khashas. However, the social status of Mahataun (village headman) remained similar to that of the ancient and early medieval periods. This system helped to continue the tradition of the Tharu community and Tharu culture became the culture of Dang. In the heritage of Dangali culture, we can say that Tharu culture is the cultural heritage of Dang along with Siddha Ratnanath sect.

VOT: You have also written about the cuisines of Dangaura Tharus. Please tell us in detail about the food items and how they are prepared. It would be good if you can also tell us the importance of the food items in the Tharu culture. When and why are they (some special items, if any) prepared?

SKS: The cuisines of human beings are mainly based on the local production and can be divided into two groups: habitual food and cultural food. Tharus are not exception from that fact. The cuisine system of the Dangaura Tharus seems to be more hygienic due to less use of oil and fat.

The major spice which is commonly used is pepper with turmeric powder. Boiled stick made of rice flour, dhikri, is used as a habitual and cultural food item.

Mad (starch) is a popular drink which is made from the mixture of rice, maize, wheat, barley and pulses. After boiling for a long time, it takes the form of liquid and is used as a non-intoxicant drink. It is also used during the day time and helps to maintain the scarcity of glucose. Rice, pulse, green vegetables and chutneys of local produce are common food habits.
 
Kappwa (made of rice and wheat powder) and Kanjuwa (made of sour starch) are the substitute variety of pulses.

Lachhara – dry piece of green vegetables is used in lieu of green vegetables when it is not available in kitchen garden.

There are limited food items which can be mentioned the items of food culture. They are dhikri, jhajhara roti and baria. Dhikri is made of rice flour which is cooked over steam. On the basis of their shapes and size, they are known as pauwa dhikri, lattha dhikri, gola dhikri and chhithi dhikri. This variety of food is essential in the great festivals like Maghi, Dashya, Gurai, etc.

Jhajhara roti is the next variety of occasional food which is made of liquid rice flour cooked in ghee. It is used during Dashain, Holi and other occasions to offer to those gods who do not prefer animal sacrifice.

Baria is similar to gola dhikri cooked either in oil or in ghee. It is needed in marriage and funeral ceremonies.

Poinkasan (a typical vegetable available in kitchen garden) is used in Astimki and Atwari festivals.
Fish is equally important for food habit and food culture.

VOT: Can you highlight any interesting incident during your research in Dang?

SKS: Dang is the area from where prehistoric artefact was discovered first in Nepal. Prof. R.N. Panday, Gudrun Corvinus, Randy Haaland have given their valuable time in prehistoric research in Dang. Dr Drona Rajaure and Prof. Dr Sharma have also given their attention to the cultural research in Dang. So, I was also attracted towards the research of this area. It was focused in the Babai area. One day while returning from the field on the evening, I saw a typical stone piece in the water of Babai riverbed. I picked it up. It was a piece of lost Mesolithic stone. It is the most interesting incident during my research on Dang.

VOT: What are your personal views about the Tharus? do you have any advice for the young generation?

SKS: Tharu is an honest and labourious ethnic group of Nepal Tarai that remained out of contact with other groups. When other groups came to contact, they went out from Dang. However, it was impossible to live without mixing with the others and it took a long time to be close to each other. It was essential to accept the cultural values of the hill people which is gradually being adapted.

Liquor and wine were the major drinks of the Tharus which had created misunderstanding and quarrels in the society. It was the major reason of misuse of grain which made them food-less during the farming period. It was also one of the reasons behind the poverty and made them rely on others. But now-a-days, Tharu youths are getting away from this tradition and are trying to change. It is good. However, some of the academicians of this community are giving slogans of extreme ethnicism which is harmful. Most of the youths are just trying to adjust with others and learning new things. I request the youths to be careful of this and learn from the mistakes of past.

VOT: Are you continuing with research and writing? Can you share with us your future plane?

SKS: Now-a-days I am active towards developing culture tourism in Rapti by the means of identifying the heritage sites, formulating master plans for the development and making people aware about it. Culture and nature are intertwined, so both should be launched together.

Government alone cannot do anything without people's participation which is essential for sustainable development.

I want to spend my remaining life in research and publications.

Tharuism is good for preserving cultural identity but casteism is bad for cultural harmony – Ashok Tharu

Ashok Tharu with Sarita Pachhaldangya

Ashok Tharu, a legendary Tharu scholar, has dedicated his life to unearthing the different facets of Tharu culture. He has collaborated with many international and national researchers to write about the uniqueness and nuances of Tharu traditions, rites and rituals.

Sanjib Chaudhary from Voice of Tharus caught up with Ashok Tharu for an inspiring interview. Special thanks go to Sarita Pachhaldangya for her coordination in interviewing Mr Tharu. Excerpts:

Voice of Tharus (VOT): Welcome to Voice of Tharus. You have carved a niche among Tharus researchers. How did the idea of conducting research related to Tharus come to you? Who and what was your inspiration?

Ashok Tharu (AT): At first, thank you so much "Voice of Tharus" for providing me this media corner. Let me go back into the past. The famous historian Yogi Narahari Nath was in a mission of establishing Sanskrit University in Dang. We all, the students of 8th grade, went to the infrastructure site to build small cottages for classrooms. There, I found a small booklet titled "Sthal Digdarshan" meaning "origin of the place". In the second page, a stanza was published in Nepali, "Bhāshā bhushan bhesh katā tira gayo, mul thalo ho katā, kasmā chhan tharakā thalā, tala hudā Tharu kasori bhayo". Meaning: Where did the languages, ornaments, dresses go? Where is the origin of castes? How did Tharu caste originate? Is it due to having low caste status or being inhabitants of Terai?

Once I was going through a dictionary written by Narendramani Acharya Dixit, published by Sajha Prakashan, Kathmandu. According to the dictionary Tharu means a term of abuse alongside bhate (one who wants to eat rice without doing any work), mula (jobless), chor (thief), chandal (a caste whose occupation is to burn dead bodies), and paji (baby of a donkey).

The above stanza and the definition of the Tharu word stirred my heart, mind and soul badly. Since then, I vowed to devote my life to preserving and promoting Tharu folk cultural heritages so that the Tharu word would be prestigious.

There are so many hidden essentialities within folk culture such as Tharu folk literature (epics, songs, stories, proverbs, mantras, etc.), folk arts and crafts (Ashtimki painting, tattoo, wall painting, wood carving, natural fibre knitting and designing, art of playing musical instruments and dancing, etc.); but all of these intangible cultural heritage (ICH) are going to get lost due to lack of transmitting them from generation to generation.

VOT: Can you tell our readers about your research and the publications you have published till date?

AT: I have written a number of articles in Tharu and Nepali languages in the subject of Tharu ICH which are as follows: (enlisted at the end of the interview)

VOT: Please tell us about yourself and your opinion about the Tharus?

AT: I’ve a bitter experience and feeling about our caste 'Tharu'. I was a teacher in a school established by my father. Once, a 10-year-old boy got admission in the 5th grade. When the class teacher asked his name, he said 'Chaudhary as his surname'. I asked him, “Would you like to write Tharu in lieu of Chaudhary?” In reply, he used the word ‘Dhat’. That means: “I feel embarrassed and inferior to be associated with the word Tharu. So, I won't like it [Tharu] to accompany my name.”

Knowing this, I felt very sad. Where is our young generation going? What's going to happen to our cultural identity? Why do they have inferiority complex about their own caste?  This event inspired me to write Tharu instead of Chaudhary. Since then my identity has been Ashok Tharu, even though before the unification of Nepal, my ancestors were designated as 'Chaudhary' [a post] by Falabangi King Shamsher Bahadur Shah, Gehendra Bahadur Shah and last prince Jitendra Bahadur Shah. In fact  the word 'Chaudhary' has been derived from 'Chauthdhari' meaning a ‘tax collector’.

VOT: You are also an art lover. Please tell us how you coordinated the cover
design of the book 'Barka Naach' by Kurt Meyer and Pamela Deuel?

AT: The Government of Nepal had declared 1998 as the 'Visit Nepal Year'. It also recognised cultural tourism which is one of the most important factors in increasing personal/national income and contributing to development.

One day Kurt Meyer and Pamela Deuel came to me, taking the name of Gisele Krauskopff with whom I had collaborated in 1989. They told me  about their research plan. Thus, came the opportunity to internationally spread the Tharu ICH through the Tharu Mahabharata Project.

In the first year, I proposed them to observe the process of Tharu Astimki painting which is based on Tharu folk philosophy. Kurt along with 18 tourists visited the Kachila village in Dang district. They very much liked the painting of Dambar Tharu. Thus, the creation of Dambar Tharu got to the front cover of the book 'Barka Naach'. On the cover, the illustrations included Dropadi, the most important character of Mahabharata and an umbrella used during the marriage ceremony. The whole story of Mahabharata is the story of Dropadi's sorrow, grief and sufferings. Another illustration donning the cover is that of Sun, Kunti’s first husband [Though Kunti was not married, she had a son with him] and father of Karna, the second most important character after Arjun.

Astimki painting is the most philosophical painting within Tharu folk art. Readers can consult the special publication ‘Chali Gochali’ [Let's go friend] magazine published in August 2015 to know more. Shila Chaudhary has translated my article about this painting into English in this issue. Nepali readers can refer to my article and book on the painting (check out the list at the end of the interview).

VOT: You have contributed a lot to highlight the Tharu Astimki painting. Can you
share with our readers about the philosophy behind the painting?

AT: I'm proud of unknown Tharu artists, painters and our ancestor's philosophy behind the Astimki painting created by them. Who can say they were backward, uncivilized and illiterate Tharus? Who can use the word Tharu as a term of abuse?

We should observe the painting from bottom to top. At the bottom, the sky blue colour symbolizes ocean. The creatures like fish, crab and tortoise remind us about Paleozoic Era. The man over the boat is 'Gurbābā', the first Tharu (Krauskopff, 1989: 52) who created lithosphere with the help of crab and worms. On the top row are five Pandavas  going to marry Dropadi who is shown on the second row. On the third row is the 12 headed Raavana, the most interesting character of the painting. Sita, the daughter of King Janak had fallen in love with Raavana during her marriage ceremony but Rama wedded her winning the competition. She could not forget Raavana and he was present in her subconscious mind even though see never talked to anybody about this except her sister-in-law. Tharu girls sing this story during the Paiyã dance in Dasya festival.

This philosophical painting is based on Tharu mythology. Around 50 years ago, Tharu painters used natural colours. They produced green colour from bean leaves, brown from catechu wood, black from dried and burned gourd. But now-a-days they use chemical colours. Every colour in the painting has a psychological meaning and significance. Tharu painters use geometric shapes which are drawn in a simple way representing the ancient method.

Astimki is not only a painting but a great ceremony in the dark night. Women take  to fasting and in the dark night, the beauty of well-dressed and ornamented-laden Tharu women in blazing flame of the ceramic lamp light is worth watching. The women worship the painting by singing Astimki songs the whole night.

Next morning, they go to a river and immerse the flowers and lamps in the river waters. The flowing of blazing light over the river is enchanting to watch. In short, the Astimki painting is a juxtaposition of multiple voices of Tharu folk art, artists and folk culture. The Tharu folk artists present multiple interpretations through their paintings. This folk art through its rhythmic colours related to the society highlights the Tharu folk cultural spirituality.  It is one of the most important Tharu folk cultural ICHs.

VOT: During your research, you worked with many international and Nepali
researchers. Can you share your experiences with us? 

AT: In 1989 when I was in a teaching job, I got an opportunity to join Gisele Krauskopff from CNRS, Paris. As the result, a very serious research book "Maitres Et Possedes" has been published in French. Many academician tried to translate it into English but CNRS didn't allow the translation. It is the symbol of French language's pride from which we Tharus should learn a lesson. This project was not only a job for me but an open university that enriched my knowledge and concept about Tharu culture and it enhanced my research skills. This project widened my public relations as well.

1991: I joined Veronique Bouiller from CNRS, Paris to research about Nath culture. There is very close relationship between Tharu and Nath cultures. I've analysed about it more in one of the chapters “Phulwār” (garden), in my book in Nepali "History, art and philosophy in Tharu folk literature". Do you know an interesting fact? Parvati, the wife of Mahadeva, was the daughter of the premier Tharu Gurbaba (Krauskopff,1989: 50/Meyer, 1998: 5). This is why they are worshipped in the deity room of every Tharu home. The song sung during a Tharu marriage ceremony is the tale of goddess Parvati and god Mahadeva.

1998: I got an opportunity to join Kurt Meyer and Pamela Deuel.  As a result the greatest epic among Tharu folk literature "Barkimar/Tharu Mahabharata/Barka Naach" has been published in Tharu, Nepali and English languages.

2065B.S./2008AD: I joined famous cultural scholar Mr. Tulsi Divas. As a result, the book "Tharu folklore and folk life" has been published  in Nepali and English languages. Due to lack of team co-ordination, there are some grammatical errors in Tharu words.

Once, Parsu Narayan Chaudhary of Gobardiha village narrated a very important folklore. The British annexed Tulsipur, the southern part of Dang state, unilaterally to the Indian state Balrampur in 1930. The British wanted to extend the territorial border up to the Chure range but the Manyajan of Deukhuri did not let it happen.

The elderly of the place tell the story of the Manyajan who claimed that the land belonged to them. They put forward the evidence that the discovery of coal in Koilabasa proved that they had been using the land as pasture for ages and if they were deprived of it, they would lose the source of subsistence and it would create a big problem.

The British accepted their request and the foot of the Chure range was agreed as the southern border of Nepal. As a result, the Tharus of Gobardiha (ancestor of Parashu Narayan Chaudhary) obtained the privilege of tax collection from the Koilabasa check post and the Tharus of Materiya (ancestor of Lokmani Chaudhary) obtained the privilege of tax collection from the Khangra check post.   

Since 2063 B.S./2006 A.D. Nepal Music Centre, Kathmandu has selected me as a representative of mid-western region for the folk cultural publication ‘Lok Sanskriti’.

Due to the above opportunities and my contribution to Tharu folk culture since 2013, I was selected to activate the ICH Convention 2003 by Ministry of Culture of Nepal and UNESCO. After completing the TOT, I have been listing Tharu folk cultural ICHs for the last two years.

While preparing the ICH TOT, I came closer to Mr. Dharma Raj Shakya, a stone sculpture and Vice President of Federation of Handicrafts Association of Nepal. As a result, I have established Dang Handicraft Association to promote cultural handicrafts.

In 2014 AD I joined Victoria Dalzell to research on ethnomusic. We both explored the 22 steps of Tharu Folk Dance Paiya.

VOT: What is your personal view about Tharus? Do you have any advice for the
young generation?

AT: Tharuism is better for our own cultural identity but casteism is bad for cultural harmony. We Tharus are more influenced by Nepali culture. We prefer to speak Nepali rather than Tharu language with our children. It is a slow poison for Tharu's cultural identity (ICH). It is said, “If you want to kill any culture, attack it through its mother language.” It’s not only the question of language, there are so many ICHs hidden within Tharu folk culture. Those are being lost rapidly because of not being handed over and transferred to new generation.

VOT: Are you continuing with your research and writing? Can you share with us
your future plans?

AT: Promoting ICH through research, analysing, publishing, and production is my life's goal, so how it can stop. It’s my hobby, not a job.

Nothing can be said about the future. Thank you so much for providing space for my thoughts in your blog. Wishing all of you and the Voice of Tharus team all the best!
                                       

Articles by Ashok Tharu:
How much scientific is the Tharu folk cultural festive event's ritual 'Gurai'? Published in a college journal ‘Hamar Pahura’ (our gift). 2050B.S./1993 A.D., Tharu student comt. Dang.

O Sakhi (Girlfriend)! on the occasion of Maghi festival, we have drunk sweet liquid Jãr (Alcohol), Published in New Morning, Kathmandu.

In the question of Tharu language, Part 1/2/3 published in Yugbodh national daily, 2058B.S./2001 A.D.

History, Art and Philosophy in Tharu Folk Literature, published in Yugbodh national daily, 2059B.S./2002 A.D.

History, Art and Philosophy in Tharu Folk Literature, published in Saypatri journal, Nepal Academy, Kathmandu, 2059B.S./2002 A.D.

History, Art and Philosophy in Tharu Folk Literature, published in Saypatri journal,
Nepal Academy, Kathmandu, 2062B.S./2005 A.D.

History, Art and Philosophy in Tharu Folk Literature, published in Pragya journal, Nepal
Academy, Kathmandu, 2059B.S./2002 A.D.

Tharu folk dance: Sakhyā / Paiyã, Folk Culture Journal, Published by Nepal Music
Centre, Kathmandu, 2063B.S./2007 A.D.

Sexual feeling in Tharu folk art, folk literature and folk culture, Published in Jyotsna
Journal, 2064B.S./2008 A.D.

Freudism in Tharu Folk Literature, Folk Culture Journal, Published by Nepal Music
Centre, Kathmandu, 2064B.S./2008 A.D.

Tharu Traditional Organization: Deshbandhya (Regional controller), Mahatawa (village
chief) and Ghardhurya (household chief), published in Yugbodh national daily,
2065B.S./2008 A.D.

Tattoo, Gorkhapatra, 2066B.S./2009 A.D.

Do your deities like dirty place? Gorkhapatra, 2066B.S./2009 A.D.

Madho-Sundari in Tharu Folk Literature, Folk Culture Journal, Published by Nepal
Music Centre, Kathmandu, 2066B.S./2009 A.D.

Harmonious co-existence to strengthen the local cultural, published in Yugbodh national
daily, 2067B.S./2010 A.D.

Tharu folk Art: an over view, Folk Culture Journal, Published by Nepal Music Centre,
Kathmandu, 2067B.S./2010 A.D.

Radha and Kanha: In Tharu folk literature, Published in Khasãni Journal, Midwestern
Literature Society, 2068B.S./2011A.D.

Tharu Folk Art Astimki: A short over view, Folk Culture Journal, Published by Nepal
Music Centre, Kathmandu, 2069B.S./2012 A.D.

Daharchandi (A Goddess), Gorkhapatra 2069B.S./2012 A.D.

Disappearing Tharu folk tradition of marriage, Published in Chali Gochali Journal,
Kathmandu, 2069B.S./2012A.D.

Books in Nepali/Tharu languages:
Tharu Mahabharata: A short and comparative analysis (in 2055 B.S./1998 A.D. Nepali)
Published by Pamela Deuel, Jagadamba offset Press, Patandhoka.

Tharu Mahabharata: A short and comparative analysis (in 2055 B.S./1998 A.D. Tharu)
Published by Pamela Deuel, Rapti Offset Press, Dang.

Tharu Mahabharata: A short and comparative analysis (in 2055 B.S./1998 A.D. Nepali)
Published by BASE, Rapti Offset Press, Dang.

Gurbaba: Tharu - Nepali - English Dictionary, Published by BASE, Dang.

History, Art and Philosophy in Tharu Folk Literature, published by CAF-Nepal,
2063B.S./2006 A.D.

Tharu Folk Art: A classical study, Published by Academy of Fine Arts, Kathmandu, 2070
B.S./2013 A.D.

Papers presented in different workshops:
Tharu Traditional Organisation : Deshbandhya (Regional controller), Mahatawa (village
chief) and Ghardhurya (household chief), INSEC, 2065B.S./2008 A.D.

Folk Philosophy in Tharu Folk Literature, Nepal Academy, Kathmandu, 2067B.S./2010
A.D.

Strengthening the local cultural to build up Harmonious Co-existence in Nepal, World
View Nepal- /CECI-Nepal, European Union, 2068B.S./2011 A.D.

Developing traditional skills in Tharu culture and resources of economic income,
National Cultural Study Centre, Nepal Sanskrit University, Kathmandu, 2069B.S./2012
A.D.

Cultural rights and national cultural policy -  2067/2010.

World View Nepal- /CECI-Nepal, European Union, 2069B.S./2012 A.D.

Strengthening the local cultural to build up harmonious co-existence in Nepal, World
View Nepal- /CECI-Nepal, European Union, 2070B.S./2013 A.D.

Use of classical theory in Tharu folk songs, 3rd Folklore Congress of Nepali Folklore
Society, Kathmandu, 2070B.S./2013 A.D.

Tharu Folk Festival Event: Hāryā Gurai, 4th Folklore Congress of Nepali Folklore
Society, Kathmandu, 2070B.S./2013 A.D.

Books in collaboration with:
Krauskopff, Gisele (1989), Maitres Et. Possedes, CNRS, Paris.

Ed. Meyer, Kurt/Deuel, Pamela/translator: Dinesh Chamling Rai/Kalpana Ghimire/Ashok
Tharu, (1998) Barka Naach: A Rural Folk Art Version of Tharu Mahabharata, Himal
Books, Patan Dhoka and Ruska Trust California.

Ed. Divas, Tulasi/Reasercher: Dr. Govind Acharya/Ashok Tharu/Bir Bdr.
Khadka/Jitendra Chaudhary (2065/2008) Tharu Folklore and Folk Life (Nepali edition)
Published by Nepali Folklore Society, Kathmandu.

Ed. Divas, Tulasi/Bhattarai, Govind Reasercher: Dr. Govind Acharya/Ashok Tharu/Bir
Bdr. Khadka/Jitendra Chaudhary (2065/2008) Tharu Folklore and Folk Life (English
edition) Published by Nepali Folklore Society, Kathmandu.

Photo credit: Durga Lal KC/ Kantipur

Ethnic politics and ideas of modernity heavily influence contemporary Tharu musical performance – Victoria Dalzell

Victoria Dalzell (Tori) with Tharu researcher Ashok Tharu.

Victoria Dalzell, an ethnomusicologist, conducted her research on musical practices of Tharus in Western Nepal from August 2012 to March 2014. Sanjib Chaudhary from Voice of Tharus caught up with her for a detailed interview on her research. Excerpts: 

Voice of Tharus (VOT): Welcome to Voice of Tharus. Can you tell our readers about your dissertation on Tharu folk music practices and the publications you have published till date?

Victoria Dalzell (Tori): I'm an ethnomusicologist, or a researcher who looks at music in broad terms as a human activity revolving around sound. I focus on the people who make music, the situations in which they perform, and the musical choices they make to respond to circumstances around them. So looking at "the music" is a central component to what I do, but not the only aspect on which I focus.  

My dissertation is entitled "Freedom, Margins and Music: Musical Discourses of Tharu Ethnicity in Nepal". For clarification, I overwhelmingly focus on the Dangaura Tharu, as I carried out my research in Dang district, and to a lesser degree in Banke, Bardiya and Kailali. So what I have to say about Tharu culture applies immediately to Tharu communities in the Western Terai; I have not travelled to the Eastern Terai.  I elaborate on these distinctions for my readers in my work, but for simplicity's sake in the title, I just used the common ethnonym "Tharu". I conducted my research from August 2012 to March 2014.

My dissertation does not just categorise or describe the musical practices of Tharu communities in Western Nepal, but examines how Tharu people often respond to circumstances around them through musical performance. The majority of my written work focuses on three case studies.

First, I look at music's role within Tharu development efforts that emerged out of the Kamaiya freedom movement. A number of Tharu leaders have reframed Tharu experience with bonded labour in terms of human rights, and I look at how this language emerges in performers' music. In this part, I focus primarily on maghauta nach performances during Maghi.

Second, I look at how ethnicity is gendered within community and stage performances. For this, I focus on how different generations of Tharu women experience and perceive the sakhya-paiya nach, an oral epic performed almost exclusively by Dangaura Tharu girls during Dashai. I show how Tharu girls are not bearers of some untainted musical tradition, but actively shape and change it as they pass it on to their peers and the next generation of Tharu women. Within these two case studies, ethnic politics and ideas of modernity heavily influence contemporary Tharu musical performance.

In my third case study, I examine how ethnicity, modernity, and Nepal's changing political landscape effects the musical choices of Christian Tharus. This case study continues to explore how music factors into community belonging, but how it can simultaneously articulate difference.

In sum, musical performance is a site where the Tharu community not only responds to the cultural and social changes they are experiencing, but often negotiates what these changes look like within their respective communities.

A lot of good scholarship on Tharu ways of life has come out over the past several years, both from foreign researchers and local scholars and intellectuals. A lot of it has focused on political formations and social movements within the community, but the scholarship overwhelmingly focuses on the elite or state structures. I was interested in how a wider array of people--such as women and youth--lived out their Tharuness. So I see my work as a story from below. Music was a really good entry point for looking at this, as I'll describe below.

VOT: You have said that all Tharu performance practices occur in accordance with an agricultural and ritual calendar. Can you share with us in detail about the findings?

Tori: The Tharu agricultural and ritual season is book-ended by two rituals: the harya gurai and the durya gurai. The harya gurai is conducted in each village around August, and opens the music/dance season--people can now play drums and dance. After the durya gurai is conducted in May, people are not supposed to play the drum or dance, as it’s said to bring bad luck to the growing rice crop or exacerbates the danger of disease spreading in a village. Songs are still sung during this time, but traditionally no drumming or dancing is allowed. So most traditional musical performances in Tharu communities take place between August and May. That's a simplified description, but it’s the basic idea.

Tharu repertoire is really vast, so I chose to focus on song-and-dance genres, namely the sakhya-paiya, and the maghauta, and to a lesser extent, genres like the hurdungwa and latwa. The sakya-paiya is a ritual genre performed by Tharu teenage girls during Dashai, and maghauta is associated with Maghi and participated in by members of both genders and all ages. While these two genres are associated with specific holidays, the hurdungwa and latwa can be performed any time between the gurai rituals and are traditionally performed only by men. Even though most Tharu performance practices can be categorised seasonally or are associated with various holidays or rituals, people are changing that as these practices are increasingly moved to the stage, or become presentational.

I want to introduce two terms that some ethnomusicologists use to describe different kinds of music making situations. "Participatory" is often used to describe a performance where a divide between audience and artist is blurry or non-existent--there are only various participants or potential participants who have roles varying in length and intensity.

"Presentational" refers to musical situations where one group of people--musicians, artists--provide music for another group of people--the audience--who do not participate in music making or dancing.

Most Tharu performances are participatory. For example, teenage girls are the primary performers at sakhya-paiya, but men will rotate accompanying them on drums; older women will comment, chide, and encourage the girls' performance (and sometimes join them just for fun!); and the performing girls will rotate in and out of the dance to attend to guests and visitors as asked. Because it’s a ritual, the village leader and shaman have additional roles. Participants’ roles are constantly changing over the course of a performance. Even though it’s a ritual, the event is far from solemn; a lot of flirting and teasing between boys and girls goes on. But I also saw sakhya-paiya performances during a folk festival in February, months after Dashai. This performance was mostly made up of paiya dances, not the sakhya song, and because the performers were on a stage, there was a definite divide between performer and audience. The dances were much more choreographed, and took into account the time limit given by the organisers. The audience of non-Tharu onlookers and judges made this performance not about community or ritual life, but about presenting a particular Tharu image, so the performance genre was altered to fit that new objective.   

VOT: You have also mentioned that one of your interlocutors Bejlal Chaudhary performed excerpts of various songs for specific festivals, rituals, life cycle events, work and pleasure, all of which depended on the season of the year. It would be great if you can elucidate a bit for our readers. 

Tori: I interviewed Bejlal near the end of my fieldwork. It was only about an hour long. The interview was more to check my understanding of the various genres I had been seeing and hearing throughout my fieldwork. Bejlal answered my questions, but was much more interested that I hear what these various songs sounded like, and was aware of musical variations within the genres.

This interview helped me make connections between much of what I was hearing and seeing at my various field sites. Tharu culture is incredibly diverse; not only are there several subgroups but various waves of migration westward have also contributed to cultural differences between Dangaura Tharus living in various districts. Bejlal was able to show me that some of the recordings I had made across districts were in fact recordings of the same genre, even though people called it by different names and each rendition sounded different. 

VOT: Can you cite any interesting anecdote during your stay with the Tharus in Dang?

Tori: In order to be effective in my research, I had to get to know the community in more ways than just music. I would accept invitation to visit people at work or in their homes, and look for ways to become involved in what they did. Before the onset of the monsoon, one of my host family's relatives worked with the Red Cross to distribute mosquito nets to various wards within her VDC (Village Development Committee) and I got to go with her on one occasion. She gave me the job of collecting the coupons that she and her co-workers had distributed weeks before that people redeemed for their free mosquito nets. So I stayed all day collecting stacks of coupons. When it came time for the village I stayed in to get the mosquito nets, my host sister couldn't get away from her house and fieldwork to go pick up the family's allotted mosquito nets. Because there wasn't any other adult in the family to go pick them up (her husband was away with his mother, who was hospitalised at the time, and her two boys were at school), she sent me to go pick up the mosquito nets. Most people in the village knew who I was, who I was staying with, and understood why I had been sent to pick up the mosquito nets, but I still turned a lot of heads when I showed up with the coupons. People asked why the bideshi (foreigner) was getting free mosquito nets! 

These kinds of activities were not a waste of my time, and often showed me how real community issues were. For example, collecting the coupons showed me how widespread migrant labour was. Each coupon listed the family members currently living in the household. I was amazed that almost a whole generation of 20 and 30 somethings were missing; often, the only people listed in the household were school aged children and grandparents--most parents were abroad working. Living in Dang for a year, I got to know a number of the women and children in the vicinity, but I found that men were often away working in cities or in India--they would come back to the villages to plant rice in June, and for the holiday season and harvest in October/November, and quite possibly for Maghi in January. If they were farther away, such as in Malaysia or the Middle-East, they may come back once every three to five years. 

VOT: During your research, you worked with many international and Nepali researchers. Can you share your experiences with us?  

Tori: Because of anthropology's colonial roots, there's a longstanding myth of researcher-as-discoverer. Even with all the changes that anthropology has gone through, going and doing fieldwork still involves a lot of romanticism--meaning the primacy of the researcher as an inspirational figure. But when I did my research in Western Nepal, I really had a sense that my work was as successful as it was because of what previous researchers--foreign, Nepali, and Tharu--had done. I did the majority of my work in the same Tharu village as British anthropologist Christian McDonaugh. I did not plan this; because of who I knew I just happened to end up in the same place almost thirty years after him. Talking to older members of the village got me to look not only for him, but his mentor, D.P. Rajaure. When I met Rajaure, he asked me how I had come to know about him and his work, and he was really surprised that I had heard about him from older members of the Dang village. Rajaure and McDonaugh's previous work gave Tharu residents a category for me--researcher--and so that made explaining the work I came to do so much easier. At the beginning, I was connected with Ashok Tharu and Govinda Acharya, who connected me with a lot of people in Dang and beyond. I was a nobody, but a lot of people paid attention to me and gave me time because they respected and trusted these men, who had referred me. So I had a very real sense of not breaking new ground, but building on the work of other researchers before me. 

VOT: Can you share with us link to your writings and publications?
Tori: I published an article on the sakhya-paiya nac in the December 2013 issue of Studies in Nepali History and Society (SINHAS). Unfortunately, because it’s a more recent issue, they do not have the article available on their website; however, they can be contacted for copies.

UCR published my dissertation as an Open Source document, meaning anyone with an internet connection can access it. Here's the link to download the PDF file.

Additionally, I wrote a short blog review for two albums of Nepali ritual music released by Smithsonian Folkways, a non-profit record company that produces traditional music from around the world. The review can be accessed at the following link.

In addition, the songs on the albums can be listened to for free on the website.

VOT: What are your personal views about the Tharu? Do you have any advice for the young generation?

Tori: I loved my time in Tharu communities! One of the things that impressed me about the Tharu people was their initiative--they don't wait for someone else to bring change to their communities.
I understand that swift social and economic changes have caused a lot of societal restructuring, and made some of the previous ways of life difficult to maintain. Getting an education, participating in the labour market (office jobs and migrant labour, etc.) are necessary today. However, I think music still has a vital role to play in community life. For one, musical participation builds much needed leadership experience and confidence in young people. The morhinyas and pachginhyas (song and dance leaders) of the sakhya-paiya performances that I wrote about in my dissertation were leaders. Not only did their peers look up to them, but they were well-respected by all members of their village community. Some of the women I encountered working at NGOs and in school classrooms were previous morhinyas and pachginhyas. I'm sure that early leadership experience in the dance provided them with the leadership skills they needed for their school and office jobs. Learning how to speak in front of a crowd, organising and implementing a programme, or working as a liaison between community members are things that are not always learned through modern schooling. 

VOT: Are you continuing with your research and writing? Can you share with us your future plans?

Tori: I just finished my PhD in August, and am currently on the job market. The academic job market in the USA is not that good at the moment, so I'm doing a lot of temporary work. I'm still presenting at conferences. I presented at the Society for Ethnomusicology's Annual conference in December, and will be presenting at the Association for Nepal and Himalayan Studies conference in February. When time allows, I'm hoping to revise one of my internal dissertation chapters as a journal article for publication in Ethnomusicology, one of my discipline's flagship journals.

The regulations of Chitwan National Park have reversed the traditional rights of the Tharus – Prof. Dr. Ulrike Mueller-Boeker

Prof. Dr. Ulrike Mueller-Boeker (c) Thomas Entzeroth. Used with permission.

Prof. Dr. Ulrike Mueller-Boeker heads the Human Geography Unit at the University of Zurich, Switzerland. Focused on development-related research, her fields of competence include the analysis of institutional dimensions of livelihood strategies; the impact of globalisation processes; local resource-use conflicts (i.e., concerning land, forests and water), labour migration patterns; nature conservation, and development and participation processes focusing on South Asia, Central Asia and Switzerland.

Her book The Chitwan Tharus in Southern Nepal: An Ethnoecological Approach, published in 1999, documents the knowledge of Chitwan Tharus about their natural environment.

Sanjib Chaudhary from Voice of Tharus spoke to her about her research and her opinion about the marginalisation of Tharus in Chitwan. Here’s the excerpt of the interview: 

Voice of Tharus (VOT): Welcome to Voice of Tharus. Your book The Chitwan Tharus in Southern Nepal: An Ethnoecological Approach details the lifestyle of the Tharus living in Chitwan and how they have been marginalised in their own land. Can you tell our readers about the book and how you compiled it?


Ulrike Mueller-Boeker (UMB): The focus of the publication was on the knowledge of the Chitwan Tharus about their natural environment. The attempt was made to see the environment through the eyes of those who live and act within a very specific environment. And I wanted to document how Tharus make use of the natural resources. The beauty of their material culture fascinated me. But I realised that their practices were conflicting with the Chitwan National Park. I tried to show how the autochthonous population was cut off from the natural resources of their territory, and how the regulations of the national park have reversed their traditional rights. Finally, I wanted to gather and document the history and the social fabric of the Tharu community.  I also aimed to document oral knowledge for future generations.

For the book I did several months fieldwork in Chitwan, supported by an excellent team of informants and field assistants. We went together into the forest to collect useful plants; we took semi-structured interviews in several villages (including Padampur – today grassland and part of the Chitwan National Park), I participated in festivals and so on. I really enjoyed this time and the kindness and honesty of the people.


VOT: The spraying of DDT and migration of hill people to Chitwan have led to the dwindling presence of Tharus in Chitwan. Can you elaborate a bit about it?

UMB: Chitwan – once the thinly settled, malaria-infested refuge of the Tharus – has developed within less than half a century into a wide-open region for immigrants and colonizers. Oral history and old travel reports reveal that the Tharus lived relatively undisturbed in this malaria affected lowland region. This undisturbed past was termed satjugi and frequently the statement rang out: “Satjugi, everything had been better”.

It was only in the 1950s that the malaria eradication and resettlement programmes of the government were implemented and immigrants from the hills came in a large number. Following Nepal’s opening to the outside world, Chitwan’s function as a buffer zone lost its significance. Chitwan was promoted into a development region with the aim of easing pressure on the thickly populated hill regions and providing new productive tracts of farmland for the growing population.

Tharus frequently expressed (in the 1980s) that they feel pained by the confrontation with these predominant immigrants. The general consensus - even among the wealthy Tharu landlords - was: "The Pahariyas look down upon us, they are doing much better than we are!" At the same time, Tharu elite families started to adopt typical Hindu religious practices. Nevertheless, they pointed out that they could never correspond to the Hindu ideal. The Tharus' attitude towards the Bahuns and Chhetris, as the representatives of Hinduism, was thus extremely ambivalent. On the one hand, they were collectively regarded as bloodsuckers of the poor, while, on the other hand, they were collectively idealised as the more pure and the more competent people that can cope better with a modern way of life. The intra-ethnical hierarchies and economic differences were completely ignored.

Today, many Tharus have changed their livelihood strategies; some have been able to get income alternative opportunities in tourism or as migrant workers. And the Tharu ethnicity became channelled into a Tharu movement!

VOT: In your view, did the amalgamation of different culture benefit the Tharus of Chitwan? Do you think it had more demerits than benefits?

UMB: First of all, within the Tharu community a pronounced intra-ethnical hierarchy exists; and different people had different means to cope with change. Landless Tharus (partly “enslaved” by Tharu landlords) may give different answers than small-scale farmers or jamindars. It would be interesting to ask different economic Tharu groups, what has changed in their lives in the last 30 years.  Without any doubt, “development” came to Chitwan and also Tharus benefit from better infrastructures and income opportunities.

VOT: You are from Germany but can you tell us how you became interested in researching about the Tharus?

UMB: Yes, I am from Germany, but I am living in Switzerland (and being a migrant worker) since many years. It was in 1976 that I visited Chitwan the first time. I felt attracted by the beauty of the Tharu villages and the amiability of the people. At the same time, I was shocked about how ruthlessly the national park was implemented. It needed some years that I was able to realise my wish to do research there.

VOT: Can you highlight any interesting incident during your research in Chitwan?
UMB: Once I hired a Tharuni as speaker of Tharu terms. It was an extreme hot evening, and I offered her a (warm) soft drink. But she did not drink it and explained, that she will give it to her children. In the meanwhile her husband joined us. I felt a bit puzzled and asked him what he wants. Slowly it became clear that both were urgently waiting for the payment in order to purchase food for the family dinner. I realised what a hand-to-mouth existence means. 

VOT: How did you come with the idea of writing the book The Chitwan Tharus in Southern Nepal? Have you written more about the Tharus based on the research?

UMB: It was a coincidence of theoretical interests, feeling attracted by a region and people, and last but not least a political statement (against state policies – not the migrants - and especially the national park). In addition to the book, I published several articles in scientific journals or edited books.

VOT: What are your personal views about the Tharu? Do you have any advice for the young generation?

UMB: Judge others based on their competences, behavior and credibility. It does not matter to which ethnicity or caste they belong.

VOT: Are you continuing with your research and writing? Can you share with us your future plans?

UMB: After the Tharu research, I did research in Kanchenjunga area and Far West Nepal on conservation issues, people’s livelihoods, migration etc. The last 15 years I was steering a huge international project (NCCR North-South) and was heavily engaged in capacity building and supervision. Recently I did a small research on recruitment agencies in Nepal and now – together with a Nepalese colleague on state restructuring.

I invest also time in the documentation of my work and material, and perhaps come-up with a photo book.  But I guess that this will happen after my retirement (in three years).  

The photos tell all – the daily life of Rana Tharus

Solveig Boergen, a German photographer, travelled to far western Nepal to photograph the Rana Tharus. Her amazing photographs feature the daily life of Rana Tharus. Speaking to Voice of Tharus, she said that she would like to return to the land of Rana Tharus to document cultural events, a wedding or other festivities.

Voice of Tharus (VOT): Welcome to Voice of Tharus. Can you tell a little bit about yourself to our readers?

Solveig Boergen (SB): I am a German photographer who came to Japan in 1991. After the 2011 earthquake in Japan, our family of four moved to Thailand and then to Nepal where we lived until 2013.

While in Nepal, I encountered many families in the Himalayas who have never had their pictures taken and so the idea for my project 'Portraits for Nepal' was born.

On this Facebook page I show some of the images that I took, edited and delivered to many families over the time we spent in Nepal.

VOT: Your love for photography took you to far western Nepal. Can you tell how the idea of photographing the Rana Tharus came to your mind?

SB: When I was planning for my Master's thesis in the late 80s, I was fascinated with a matriarchy in China, the Naxi minority and had hoped to be able to write about them. Unfortunately, I did not find enough material in Chinese about them in those days and had to work on another topic, but the interest for matriarchal societies stayed with me and when we moved to Nepal, I tried to find out if there are similar minorities living in the Himalayas.

VOT: How was your experience photographing the Rana Tharus?

SB: It took me quite some time to find a connection with the Rana Tharu community, but after I had found this very informative blog by Sanjib Chaudhary, I found the courage to write to him and he kindly helped me to find my way to the beautiful Rana Tharu people who live very hidden in the jungles close to the border to India.

We spent only a few days with them but due to their kindness learned so many things about their culture and customs.

VOT: Your photographs have helped the Rana Tharus reach global audience. Can you share with our readers what are your plans on sharing the pictures to a wider audience?

SB: I am hoping to show these images here in Japan if there is interest and am working on creating a book too. This will be an ongoing project as I really would like to travel back and capture more scenes.

VOT: Do you plan to return to the land of Tharus once again? If yes, what would be your focus in the next photo commission?

SB: I am certainly very interested in going back. Last time, my focus was on observing daily life. Next time, I would be very interested in documenting cultural events, a wedding or other festivities.

If there is interest, I would be very happy to guide a group of photographers who want to get a glimpse into the fascinating life of the Rana Tharus.

Tharus are genetically, culturally and racially the sons of Buddha – Subodh Kumar Singh

Continuing with the series of interviews with researchers and scholars studying about the Tharus, Voice of Tharus spoke with Subodh Kumar Singh, an eminent Tharu scholar currently residing in the USA with his family. 

Subodh Kumar Singh

Subodh stands tall among Tharu researchers with his noted books The Great sons of the Tharus: Sakyamuni Buddha and Ashoka the Great, The Return of the Mauryas and Community that Changed Asia. Having served as a political analyst with the US Embassy in Nepal, he followed the footsteps of his father Ramananda Prasad Singh whose The Real Story of the Tharus brought forth the glorious history of the Tharus.

Voice of Tharus (VOT):  Welcome to Voice of Tharus. You have carved a niche among Tharu scholars and worked towards telling the world that Tharus are sons of Buddha. Can you please tell our readers how did you research on this theme?

Subodh Kumar Singh (SKS): I was really enthusiastic to know about the real history of the Tharu community as I was desperately searching for my identity. I was no doubt very much impacted by my father's (Ramananda P. Singh) earlier research on the Tharu people. 

I started doing research on the culture and traditions of the Buddha's clan of the ancient past and it revealed that the rites and rituals practised by the Shakyas and Koliyas of Kapilvastu and Devadaha exactly matched with customs and traditions of the enigmatic Tharus – right from birth to death.

An Indian scholar had rightly said that the culture is what remains after you have forgotten all that you set out to learn. The clan of the Buddha followed Theravada and thus came to be known as the Tharu of today. I found out through my research that the Tharus are genetically, culturally and racially the sons of the enlightened Buddha. The native Tharus of the lowland Nepal Terai are a mixed community predominantly of Mongoloid extraction.

VOT: You have written three books on Tharus and their history. Can you share with our readers what the books talk about?

SKS: The book The Great Sons of the Tharus: Sakyamuni Buddha and Asoka the Great talks about the origin of the Tharus. It explains why the modern Tharus are the descendants of the Shakyas and Koliyas of the ancient world. It highlights the rites and rituals of the Tharu community which exactly matches with the Buddha's clan. It talks about malaria and why Tharus are immune to it. It talks about the migration of Shakyas and Koliyas to the Kathmandu Valley and that the valley was named as Koligram, the settlement of the celebrated Koliyas of the Yasodhara's clan.

The second book The Return of the Mauryas mentions about the Shakya Mauryas of the Terai.  It explains how the descendants of Emperor Ashok re-emerged as a formidable force in the Gangetic plain, and even had swayed over Nepalmandal (Kathmandu Valley). It also states why the Nepal Terai is known as "Tharuhat". 

The third book Community that Changed Asia talks about the mythical Aryan Race theory and how it was used as a tool by the Europeans to divide and rule the people of the Indian sub-continent. It also highlights the similarities between Tharu and Burmese culture.  It tells about the Shakyas and Koliyas migrating to the Arkansas (Burma) to establish their own kingdom. Burmese Kings' claim of being of the Shakyamuni's clan, according to Buddhist literature books, is factually accurate.

VOT: The Tharu youths are now more informed about their history. Do you see the advent of social media as a major factor in raising awareness? How do you think a wider mass can be educated on this?

SKS: The advent of social media has indeed played a significant role in raising awareness among the youths. The Tharuhat based FM radio can equally play a vital role in spreading and educating the general mass about the Tharu's history and their great legacy.

VOT: What is your view about the young Tharus? How can they be inspired and encouraged to dig their roots and research about Tharu origins?

SKS: This is the opportune time for the Tharu youths to start doing research about their glorious past, as the politics of identity has emerged in Nepali politics and this has created enthusiasm and awareness among the Tharu youths.

VOT: What is your advice to Tharus and scholars interested on researching about Tharu origin, culture and tradition?

SKS: I would simply say that you need to start researching about your culture, customs and traditions by going to the Terai because the state sponsored textbooks are not going to be of any help. You need to comparatively study the cultures and traditions of other communities living in the Terai and that will help you to understand your own culture in a vivid manner. You will definitely have to study the ancient history of the Terai region and also of South Asia to really understand the ancient Tharu community that helped to change Asia.

VOT: Are you continuing with your research and writing? Can you share with us your future plans?

SKS: I am still engaged in my research work and will continue to do so.  I really don't have any future plan as such.